The bass drum and trap are the king and queen of drum kit, in my opinion, and some of the most important and loud parts of most songs. It is important that the beat and trap sound very piercing to get good sound in general. In this article I will talk about how to get this piercing professional sound and trap.
Drum drum
I use the gate to start a drum or bass drum. I especially use the gate for live drums, as there may be bleeding from other drums received by a bass drum mic. I sometimes use the gate when I mix drum machines, as I can shake the drum a little, or if the recording has some noise that I don’t need. Gates - a good way to achieve tightness and shock in the drum sound. If you strongly push in a live recorded drum, this may sound unnatural, so be sure to combine it with the rest of the kit, especially the microphone (s), to get a natural sound, while maintaining a quick beat.
I usually use the saturation plugin. I use saturation when I feel that the bass drum does not feel warm enough or rounded. I also use saturation to bring out the top end of the drum sound. I use saturation to do this, not an equalizer, because abrupt EQ changes may sound unnatural. Saturation can add a good punch and punch that the equalizer and compression cannot achieve.
Next in the chain, I usually use a compressor. First I ask myself what exactly I want the compressor to do. In most rock and roll currently you really need a string in your drum drum. Try a ratio of about 6: 1 or 8: 1. Try an average attack or a short attack time, depending on the sound you want. Then, as a rule, I reproduce the rest of the mix and adjust the release time until the bass drum sounds exactly the way I want it. Not all drum drums are the same, so mess around these settings and see what works well in your mix.
Then I use the equalizer. I start with a cut-off of 6-8 dB around 250 Hz - 500 Hz. This move really cleans the drum and makes it sound fuller and less messy. In some cases, I will use a low shelf to remove the lower end, which is near the range of 20 Hz - 30 Hz. It gives me a lot more stock and eliminates the unwashed buzz that can be picked up. In many of my mixes, I want the shock to strike, you can slowly build up around the 1500 Hz - 4000 Hz area to bring out this upper end. Do not raise it too much, as it happens where many people make the sound unnatural sound. I usually use a good old R & B trick, which is usually used in many cases if hip-hop and R & B songs. I get a band with a narrow Q and boost around 4 or 5 dB around 50 Hz. Then I get the second narrow Q-band and increase it by 80 Hz by another few dB. It makes the bass drum just hit you right in the chest. This is a R & B trick, but it works in every genre. Be careful that this step does not make your beat and bass collide too much in the mix. An alternative to this is to increase the Q thickness by about 4 dB around the total range of 40 Hz to 70 Hz. Experiment with your drum to see what works best.
This is usually as far as I can go with a drum drum.
Drum
Once again, starting at the gate. This is probably the key to making sound. In addition, once again, it removes bleeding from the other drums entering your microphone. Just remember, sometimes bleeding coming into your microphone is not necessarily bad. He can really glue the mixture. Use the quick attack and clutter settings with the vacation and hold settings until you get the sound you want. Again, if it sounds unnatural and unnatural in itself, mix it with the rest of the drum until it becomes sonorous and natural and penetrative.
Saturation is usually my next step. Drum saturation can produce some truly amazing results. I am gaining a little bit of saturation, until I hear the trap making this familiar almost screeching sound of distortion. Then I return the saturation by about two-thirds of this amount. Let me tell you that there are not many people, but saturation on a trap can lead to a serious blow.
Then I use the compressor. I usually have a 3: 1 ratio. Then I make a medium for a slow attack. Then I play the song, setting the release time to taste. It brings out the body of the drum and adds a certain beat that I really like.
Then I use the equalizer. Using a trap, I like a good low end bit, so I usually remove some of the 250 Hz - 450 Hz for extra lows and for cleaning up any dirt. Then I make a large shelf to remove extreme brightness. In most cases, people tend to add too large an end to a trap to pull more. This added brightness is only a temporary illusion and will actually sound very harsh and overly bright in the mix, and also not leave enough space for the rest of the trap to shine. Then I make a small shelf and delete the good bit of the lower end below 70 Hz. Maybe 10 dB. This clears the lows I don’t need without breaking the signal. Then I add a wide Q impulse from about 4 dB to 100 Hz. It just makes the drum sound so awesome. It gives it all the weight and the punch. If in mix, punch and trap hit at the same time, I am usually more careful in this movement.
Sometimes, when people mix up a trap, and they have an upper and lower microphone, they slowly swing to the left and right for some separation.
So in conclusion, I hope that this article has helped you get a better and better sound percussion and drum in your mix.
Thanks for reading.
Look forward to faster mixing.
Have a nice day.
Evan.
